To live sanely in Los Angeles (or, I suppose, in any other large American city) you have to cultivate the art of staying awake. You must learn to resist (firmly but not tensely) the unceasing hypnotic suggestions of the radio, the billboards, the movies and the newspapers; those demon voices which are forever whispering in your ear what you should desire, what you should fear, what you should wear and eat and drink and enjoy, what you should think and do and be. They have planned a life for you – from the cradle to the grave and beyond – which it would be easy, fatally easy, to accept. The least wandering of the attention, the least relaxation of your awareness, and already the eyelids begin to droop, the eyes grow vacant, the body starts to move in obedience to the hypnotist’s command. Wake up, wake up – before you sign that seven-year contract, buy that house you don’t really want, marry that girl you secretly despise. Don’t reach for the whisky, that won’t help you. You’ve got to think, to discriminate, to exercise your own free will and judgment. And you must do this, I repeat, without tension, quite rationally and calmly. For if you give way to fury against the hypnotists, if you smash the radio and tear the newspapers to shreds, you will only rush to the other extreme and fossilize into defiant eccentricity.
British-American novelist (1904-1986)
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California is a tragic country — like Palestine, like every Promised Land. Its short history is a fever-chart of migrations — the land rush, the gold rush, the oil rush, the movie rush, the Okie fruit-picking rush, the wartime rush to the aircraft factories — followed, in each instance, by counter-migrations of the disappointed and unsuccessful, moving sorrowfully homeward.
In another moment, when I had drunk exactly the right amount of champagne, I should have a vision. I took a sip. And now, with extreme clarity, without passion or malice, I saw what Life really is. It had something, I remember, to do with the revolving sunshade. Yes, I murmured to myself, let them dance. They are dancing, I am glad.
"An afternoon drive from Los Angeles will take you up into the high mountains, where eagles circle above the forests and the cold blue lakes, or out over the Mojave Desert, with its weird vegetation and immense vistas. Not very far away are Death Valley, and Yosemite, and Sequoia Forest with its giant trees which were growing long before the Parthenon was built; they are the oldest living things in the world. One should visit such places often, and be conscious, in the midst of the city, of their surrounding presence. For this is the real nature of California and the secret of its fascination; this untamed, undomesticated, aloof, prehistoric landscape which relentlessly reminds the traveller of his human condition and the circumstances of his tenure upon the earth. "You are perfectly welcome," it tells him, "during your short visit. Everything is at your disposal. Only, I must warn you, if things go wrong, don't blame me. I accept no responsibility. I am not part of your neurosis. Don't cry to me for safety. There is no home here. There is no security in your mansions or your fortresses, your family vaults or your banks or your double beds. Understand this fact, and you will be free. Accept it, and you will be happy.
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A passenger isn't supposed to concern himself with the running of the ship; that is being taken care of by the crew, anonymous creatures down in the engine-room or up on deck, whom he never meets. But, in this case, I wasn't really a passenger. I was like a lazy or scared or drunken captain lying shut in his cabin when he ought to be on the bridge, giving orders. Sooner or later, I would have to come out and assume command and decide where we were going.
But not yet, I told the crew. You don't need me yet. Can't you see I'm sick? You're doing all right without me. Sure, I'll come, when we get near land. Just let me lie here a little longer. Leave me alone, can't you? Let me sleep.
He crosses the front room, which he calls his study, and comes down the staircase. The stairs turn a corner; they are narrow and steep. You can touch both handrails with your elbows, and you have to bend your head, even if, like George, you are only five eight. This is a tightly planned little house. He often feels protected by its smallness; there is hardly room enough here to feel lonely. Nevertheless.
Here, in their midst, George feels a sort of vertigo. Oh God, what will become of them all? What chance have they? Ought I to yell out to them, right now, here, that it’s hopeless? But George knows he can’t do that. Because, absurdly, inadequately, in spite of himself, almost, he is a representative of the hope. And the hope is not false. No. It’s just that George is like a man trying to sell a real diamond for a nickel, on the street. The diamond is protected from all but the tiniest few, because the great hurrying majority can never stop to dare to believe that it could conceivably be real.
Staring and staring into the mirror, it sees many faces within its face - the face of the child, the boy, the young man, the not-so-young man - all present still, preserved like fossils on superimposed layers, and, like fossils, dead. Their message to this live dying creature is: Look at us - we have died - what is there to be afraid of?
It answers them: But that happened so gradually, so easily. I'm afraid of being rushed.